Transcription of Blade Runner

And Now...

This is a transcription of the 1982 US Theatrical Release of Blade
Runner, laboriously typed in, by hand, by my roommate Mark and I,
exclusively for your viewing pleasure. :-)

This text differs from a normal script in that I have tried to match the
actual spoken dialogue in the movie as closely as possible - this includes
grunts, background noise, and even the spacing of the text in the credits. If
you find any mistakes, please tell me (bri@netrino.com).

Additional thanks to all those who
helped with comments and suggestions.

Enjoy...

JERRY PERENCHIOANDBUD YORKINPRESENT

HARRISON FORD

BLADE RUNNER

RUTGER HAUER

SEAN YOUNG

EDWARD JAMES OLMOS

M. EMMET WALSH

DARYL HANNAH

WILLIAM SANDERSON

BRION JAMES

JOE TURKEL

ANDJOANNA CASSIDY

SUPERVISING EDITORTERRY
RAWLINGS

MUSICCOMPOSED, ARRANGED, PERFORMED AND
PRODUCED BYVANGELIS

ASSOCIATE PRODUCERIVOR
POWELL

PRODUCTION DESIGNED BYLAWRENCE G.
PAULL

DIRECTOR OF PHOTOGRAPHYJORDAN
CRONENWETH

SCREENPLAY BYHAMPTON FANCHERANDDAVID PEOPLES

PRODUCED BYMICHAEL
DEELEY

DIRECTED BYRIDLEY
SCOTT

Early in the 21st Century, THE TYRELLCORPORATION advanced Robot evolutioninto the
NEXUS phase - a being virtuallyidentical to a human - known as a Replicant.

The NEXUS 6 Replicants were superiorin strength and agility, and at
least equalin intelligence, to the genetic
engineerswho created them.

Replicants were used Off-world
asslave labor, in the hazardous exploration andcolonization of other planets.

After a bloody mutiny by a NEXUS 6combat
team in an Off-world colony,Replicants were declared illegalon earth - under penalty of death.

Leon: Oh, sorry. [ pause ] I already had an IQ test this year,
I don't think I've ever had one of these-

Holden: Reaction time is a factor in this, so please pay attention.
Now, answer as quickly as you can.

Leon: Sure.

Holden: One-one-eight-seven at Hunterwasser.

Leon: That's the hotel.

Holden: What?

Leon: Where I live.

Holden: Nice place?

Leon: Yeah, sure I guess--that part of the test?

Holden: No, just warming you up, that's all.

Leon: Oh. It's not fancy or anything.

Holden: You're in a desert, walking along in the sand when all of the
sudden-

Leon: Is this the test now?

Holden: Yes. You're in a desert walking along in the sand when all of
the sudden you look down-

Leon: What one?

Holden: What?

Leon: What desert?

Holden: It doesn't make any difference what desert, it's completely
hypothetical.

Leon: But how come I'd be there?

Holden: Maybe you're fed up, maybe you want to be by yourself, who
knows? You look down and you see a tortoise, Leon, it's crawling toward you-

Leon: Tortoise? What's that?

Holden: Know what a turtle is?

Leon: Of course.

Holden: Same thing.

Leon: I've never seen a turtle. [ pause ] But I understand what
you mean.

Holden: You reach down, you flip the tortoise over on its back
Leon.

Leon: Do you make up these questions, Mr. Holden, or do they write
them down for you?

Holden: The tortoise lays on its back, its belly baking in the hot sun
beating its legs trying to turn itself over but it can't, not without your help,
but you're not helping.

Leon: What do you mean I'm not helping?

Holden: I mean, you're not helping. Why is that Leon? [ pause ]
They're just questions, Leon. In answer to your query, they're written down for
me. It's a test, designed to provoke an emotional response. [ pause ]
Shall we continue? Describe in single words, only the good things that come in
to your mind about: your mother.

Leon: My mother?

Holden: Yeah.

Leon: Let me tell you about my mother. [ shot fired ]

[ Cut to overhead shot of city, zooms in on Deckard, reading a
newspaper ]

Overhead blimp: A new life awaits you in the Off-world colonies. The
chance to begin again in a golden land of opportunity and adventure.

Sushi Master: Nan-ni shimasho-ka? [ Japanese for: "What would you
like to have?" ]

Overhead blimp: A new life awaits you in the Off-world colonies. The
chance to begin again in a golden land of opportunity and adventure. New
climate, recreational facilities...

Deckard (voice-over): They don't advertise for killers in the
newspaper. That was my profession. Ex-cop, ex-blade runner, ex-killer.

Overhead blimp: absolutely free... Use your new friend as a personal
body servant or a tireless field hand - the custom tailored genetically
engineered humanoid replicant designed especially for your needs. So come on
America, lets put our team up there...

"lo-faast" is a rude expression. Originally is written as
"lofaszt" and is a combined word. "lo" means "horse" and "fasz" means "prick",
"dick". Together, and with the suffix "-t" [which refers accusative] it's a
shortened form of "lofaszt a seggedbe" ["have a horse's dick in your ass"]. In
this context it means that Gaff tolerates Deckard's answer as nuts and refuses
to be ignored.

Deckard (voice-over): The charmer's name was Gaff. I'd seen him
around. Bryant must have upped him to the Blade Runner unit. That gibberish he
talked was city-speak, guttertalk, a mishmash of Japanese, Spanish, German, what
have you. I didn't really need a translator. I knew the lingo, every good cop
did. But I wasn't going to make it easier for him.

Spinner: ...final descent, now on glide path, on course, over the
landing threshold.

[ Bryant's office ]

Bryant: Hiya Deck.

Deckard: Bryant.

Bryant: You wouldn't have come if I just asked you to. Sit down pal.
C'mon don't be an asshole Deckard. I've got four skin jobs walking the
streets.

Deckard (voice-over): Skin jobs. That's what Bryant called replicants.
In history books he's the kind of cop that used to call black men niggers.

Bryant: They jumped a shuttle Off-world, killed the crew and
passengers. They found the shuttle drifting off the coast two weeks ago so we
know they're around.

Deckard: Embarrassing.

Bryant: No sir. Not embarrassing, because no one's ever going to find
out they're down here. Because you're going to spot them, and you're going to
air them out.

Deckard: I don't work here anymore. Give it to Holden, he's good.

Bryant: I did. He can breathe okay as long as nobody unplugs him. [
Gaff picks up a pice of paper ] He's not good enough, not as good as you.
I need you, Deck. This is a bad one, the worst yet. I need the old blade runner,
I need your magic.

Deckard: I was quit when I came in here, Bryant. I'm twice as quit
now.

Bryant: Stop right where you are. You know the score pal. If you're
not cop, you're little people.

Leon (video): I already had an IQ test this year, I don't think I've
ever had one of these-

Holden (video): Reaction time is a factor in this, so please pay
attention. Answer as quickly as you can.

Leon (video): Yeah, sure.

Holden (video): One-one-eight-seven at Hunterwasser.

Leon (video): Yeah, that's the hotel.

Holden (video): What?

Leon (video): Where I live.

Holden (video): Nice place?

Leon (video): Yeah, sure I guess--

Bryant: There was an escape from the Off-world colonies two weeks ago.
Six replicants, three male, three female. They slaughtered twenty-three people
and jumped a shuttle. An aerial patrol spotted the ship off the coast. No crew,
no sight of them. Three nights ago they tried to break into Tyrell Corporation.
One of them got fried running through an electrical field. We lost the others.
On the possibility they might try to infiltrate his employees, I had Holden go
over and run Voigt-Kampff tests on the new workers. Looks like he got himself
one.

Holden (video): So you look down you see a tortoise. It's crawling
toward you.

Leon (video): Tortoise, what's that?

Holden (video): Know what a turtle is?

Leon (video): Of course.

Holden (video): Same thing.

Leon (video): I've never seen a turtle.

Deckard: I don't get it. What do they risk coming back to earth for?
That's unusual. Why--what do they want out of the Tyrell Corporation?

Bryant: Well you tell me pal, that's what you're here for.

Deckard: [funny look]. [pause] What's this?

Bryant: Nexus 6. Roy Batty. Incept date 2016. Combat model. Optimum
self-sufficiency. Probably the leader. [ pause ] This is Zhora. She's
trained for an Off-world kick-murder squad. Talk about beauty and the beast,
she's both. [ pause ] The fourth skin job is Pris. A basic pleasure
model. The standard item for military clubs in the outer colonies. They were
designed to copy human beings in every way except their emotions. The designers
reckoned that after a few years they might develop their own emotional
responses. You know, hate, love, fear, anger, envy. So they built in a fail-safe
device.

Deckard: Which is what?

Bryant: Four year life span.

Bryant: Now there's a Nexus 6 over at the Tyrell Corporation. I want
you to go put the machine on it.

Deckard: And if the machine doesn't work?

[ Deckard flies to the enormous Tyrell building ]

Deckard (voice-over): I'd quit because I'd had a belly full of
killing. But then I'd rather be a killer than a victim. And that's exactly what
Bryant's threat about little people meant. So I hooked in once more, thinking
that if I couldn't take it, I'd split later. I didn't have to worry about Gaff.
He was brown-nosing for a promotion, so he didn't want me back anyway.

Deckard: Replicants are like any other machine. They're either a
benefit or a hazard. If they're a benefit, it's not my problem.

Rachael: May I ask you a personal question?

Deckard: Sure.

Rachael: Have you ever retired a human by mistake?

Deckard: No.

Rachael: But in your position that is a risk?

Tyrell: Is this to be an empathy test? Capillary dilation of the
so-called blush response? Fluctuation of the pupil? Involuntary dilation of the
iris?

Deckard: We call it Voigt-Kampff for short.

Rachael: Mr. Deckard, Dr. Eldon Tyrell.

Tyrell: Demonstrate it. I want to see it work.

Deckard: Where's the subject?

Tyrell: I want to see it work on a person. I want to see a negative
before I provide you with a positive.

Deckard: What's that going to prove?

Tyrell: Indulge me.

Deckard: On you?

Tyrell: Try her.

Deckard: It's too bright in here.

[ The window changes shade, letting less light in ]

Rachael: Do you mind if I smoke?

Deckard: It won't affect the test. All right, I'm going to ask you a
series of questions. Just relax and answer them as simply as you can. [ pause
] It's your birthday. Someone gives you a calfskin wallet.

Rachael: I wouldn't accept it. Also, I'd report the person who gave it
to me to the police.

Deckard: You've got a little boy. He shows you his butterfly
collection plus the killing jar.

Deckard: You're reading a magazine. You come across a full-page nude
photo of a girl.

Rachael: Is this testing whether I'm a replicant or a lesbian, Mr.
Deckard?

Deckard: Just answer the questions, please. [ pause ] You show
it to your husband. He likes it so much he hangs it on your bedroom wall.

Deckard (background): ...bush outside your window...

Rachael: I wouldn't let him.

Deckard (background): ...orange body, green legs...

Deckard: Why not?

Rachael: I should be enough for him.

[ Audio fades out and in, time passes. ]

Deckard: One more question. You're watching a stage play. A banquet is
in progress. The guests are enjoying an appetizer of raw oysters. The entree
consists of boiled dog.

Tyrell: Would you step out for a few moments, Rachael? [ pause
] Thank you.

Deckard: She's a replicant, isn't she?

Tyrell: I'm impressed. How many questions does it usually take to spot
them?

Deckard: I don't get it Tyrell.

Tyrell: How many questions?

Deckard: Twenty, thirty, cross-referenced.

Tyrell: It took more than a hundred for Rachael, didn't it?

Deckard: She doesn't know?!

Tyrell: She's beginning to suspect, I think.

Deckard: Suspect? How can it not know what it is?

Tyrell: Commerce, is our goal here at Tyrell. More human than human is
our motto. Rachael is an experiment, nothing more. We began to recognize in them
strange obsessions. After all they are emotional inexperienced with only a few
years in which to store up the experiences which you and I take for granted. If
we give them the past we create a cushion or pillow for their emotions and
consequently we can control them better.

Holden (video): Reaction time is a factor in this, so please pay
attention. Now, answer as quickly as you can.

Leon (video): Sure.

Holden (video): One-one-eight-seven at Hunterwasser.

Leon (video): Yeah, That's the hotel.

Holden (video): What?

Leon (video): Where I live.

Holden (video): Nice place?

Leon (video): Yeah, sure I guess--that part of the test?

Holden (video): No--

[ Deckard and Gaff inspect the apartment. Deckard finds a scale in the
bathtub and some family photos. Gaff watches quietly, folding an origami statue
of a man with an erection. ]

Deckard (voice-over): I didn't know whether Leon gave Holden a legit
address. But it was the only lead I had, so I checked it out. [ pause ]
Whatever was in the bathtub was not human. Replicants don't have scales. [
pause ] And family photos? Replicants didn't have families either.

Deckard: Yeah. [ pause ] Remember when you were six? You and
your brother snuck into an empty building through a basement window--you were
gonna play doctor. He showed you his, but when it got to be your turn you
chickened and ran. Remember that? You ever tell anybody that? Your mother,
Tyrell, anybody, huh? You remember the spider that lived in a bush outside your
window: orange body, green legs. Watched her build a web all summer. Then one
day there was a big egg in it. The egg hatched--

Deckard (voice-over): Tyrell really did a job on Rachael. Right down
to a snapshot of a mother she never had, a daughter she never was. Replicants
weren't supposed to have feelings. Neither were blade runners. What the hell was
happening to me? [ pause ] Leon's pictures had to be as phony as
Rachael's. I didn't know why a replicant would collect photos. Maybe they were
like Rachael. They needed memories.

Cambodian Lady: I think it was manufactured locally. Finest quality.
Superior workmanship. There is a maker's serial number 99069-07X/B71.
Interesting. Not fish. Snake scale.

Deckard: Snake?

Cambodian Lady: Try Abdul Ben-Hassan. He make this snake.

[ Abdul Ben-Hassan's ]

Abdul: [ Mumbles something ]

Deckard: Abdul Hassan? I'm a police officer, I'd like to ask you a few
questions. Artificial snake license X/B71, that's you? This is your work, huh?
Who did you sell it to?

Abdul: My work? Not too many could afford such quality.

Deckard: How many?

Abdul: Very few.

Deckard: How few? Look my friend.

Abdul: Taffey Lewis, down in fourth sector, Chinatown.

[ Taffey Lewis's ]

Deckard: Bartender? Taffey Lewis? Taffey, I'd like to ask you a few
questions.

Taffey: Blow me.

Deckard: You ever buy snakes from the Egyptian, Taffey?

Taffey: All the time, pal.

Deckard: You ever see this girl, huh?

Taffey: Never seen her, buzz off.

Deckard: Your licenses in order pal?

Taffey: Hey Louis, the man is dry. Give him one on the house, okay?.
See ya.

[ Deckard calls Rachael on a public videophone. "555-7583" ]

Rachael: Hello?

Deckard: I've had people walk out on me before, but not when I was
being so charming. I'm at a bar here now down at the fourth sector. Taffey Lewis
is on the line. Why don't you come on down here and have a drink?

Deckard (voice-over): The report would be routine retirement of a
replicant which didn't make me feel any better about shooting a woman in the
back. There it was again. Feeling, in myself. For her, for Rachael.

Deckard: Deckard. B two-sixty-three fifty-four.

Street Sign: Move on...

Saleslady: A minute. Yeah what do you want?

Deckard: Tsing tao. This enough?

Saleslady: Yeah.

Gaff: Bryant.

Bryant: Christ, Deckard, you look almost as bad as that skin job you
left on the sidewalk.

Deckard: I'm going home.

Bryant: You could learn from this guy Gaff. He's a god damn one man
slaughter house. That's what he is. Four more to go. Come on Gaff, let's go.

Deckard: Three. There's three to go.

Bryant: There's four. That-- That-that skin job that you V-K'ed at the
Tyrell Corporation, Rachael. Disappeared. Vanished. Didn't even know she was a
replicant. Something to do with a brain implant says Tyrell. Come on Gaff. Drink
some for me, huh, pal.

[ Deckard sees Rachael across the street, and chases after her. Leon stops
Deckard in the street ]

Deckard: Leon.

Leon: How old am I?

Deckard: [ Punches Leon ] I don't know.

Leon: [ Throws Deckard against wall ] My birthday is April 10,
2017. How long do I live?

Deckard: Four years.

[ Leon throws Deckard against another wall. Deckard pulls out his gun, but
Leon immediately knocks it away. ]

Leon: More than you.

[ Leon swings and misses Deckard, but punches a hole in a steam
generator. ]

Leon: Painful to live in fear, isn't it?

[ Leon tosses Deckard down on his back. ]

Leon: Nothing is worse than having an itch you can never scratch.

Deckard: Oh, I agree.

[ Leon picks Deckard up by the collar, and slaps him across the face.
]

Leon: Wake up! Time to die.

[ Leon gets ready to gouge out Deckard's eyes... But, Rachael pops some
lead into his cranium ]

Tyrell: The facts of life. To make an alteration in the evolvment of
an organic life system is fatal. A coding sequence cannot be revised once it's
been established.

Roy: Why not?

Tyrell: Because by the second day of incubation, any cells that have
undergone reversion mutations give rise to revertant colonies like rats leaving
a sinking ship. Then the ship sinks.

Roy: What about EMS recombination.

Tyrell: We've already tried it. Ethyl methane sulfonate as an
alkylating agent and potent mutagen. It created a virus so lethal the subject
was dead before he left the table.

Roy: Then a repressive protein that blocks the operating cells.

Tyrell: Wouldn't obstruct replication, but it does give rise to an
error in replication so that the newly formed DNA strand carries the mutation
and you've got a virus again. But, uh, this-- all of this is academic. You were
made as well as we could make you.

Roy: But not to last.

Tyrell: The light that burns twice as bright burns half as long. And
you have burned so very very brightly, Roy. Look at you. You're the prodigal
son. You're quite a prize!

Roy: I've done questionable things.

Tyrell: Also extraordinary things. Revel in your time.

Roy: Nothing the god of biomechanics wouldn't let you in heaven
for.

[ Roy kisses Tyrell on the mouth. Tyrell screams as his eyes are gouged
out. ]

Roy: You better get it up, or I'm gonna have to kill ya! Unless you're
alive, you can't play, and if you don't play... Six, seven. Go to hell, go to
heaven.

[ Fight ]

Roy: Yeah, that's the spirit.

[ Deckard hits Roy with pipe. ]

Roy: That hurt. That was irrational. Not to mention, unsportsman like.
Ha ha ha. Where are you going?

[ Deckard does some amazing climbing, then jumps to next building. Roy
follows, after tossing a bird. ]

Roy: Quite an experience to live in fear, isn't it? That's what it is
to be a slave.

[ Deckard falls, Roy catches him. ]

Roy: I've seen things you people wouldn't believe. Attack ships on
fire off the shoulder of Orion. I watched C-beams glitter in the dark near
Tannhäuser Gate. All those moments will be lost in time like tears in rain. Time
to die.

Deckard (voice-over): I don't know why he saved my life. Maybe in
those last moments he loved life more than he ever had before. Not just his
life, anybody's life, my life. All he'd wanted were the same answers the rest of
us want. Where did I come from? Where am I going? How long have I got? All I
could do was sit there and watch him die.

Gaff: You've done a man's job, sir. I guess you're through, huh?

Deckard: Finished.

Gaff: It's too bad she won't live. But then again, who does?

Deckard: Rachael? Rachael? Rachael?

[ Deckard uncovers Rachael. ]

Deckard: Do you love me?

Rachael: I love you.

Deckard: Then trust me.

Rachael: I trust you.

Deckard: Rachael?

[ Deckard picks up paper unicorn. ]

Gaff (memory): It's too bad she won't live. But then again, who
does?

Deckard (voice-over): Gaff had been there, and let her live. Four
years, he figured. He was wrong. Tyrell had told me Rachael was special: no
termination date. I didn't know how long we had together, who does?

A MICHAEL DEELY-

RIDLEY SCOTT PRODUCTION

FEATURING

JAMES HONG

MORGAN PAULL

EXECUTIVE PRODUCERS

BRIAN KELLY

HAMPTON FANCHER

SPECIAL PHOTOGRAPHIC

EFFECTS SUPERVISOR

DOUGLAS TRUMBULL

SPECIAL PHOTOGRAPHIC

EFFECTS SUPERVISOR

RICHARD YURICICH

SPECIAL PHOTOGRAPHIC

EFFECTS SUPERVISOR

DAVID DRYER

VISUAL FUTURIST

SYD MEAD

BASED ON THE NOVEL

"DO ANDROIDS

DREAM OF ELECTRIC SHEEP"

BY PHILIP K. DICK

EXECUTIVE IN CHARGE

OF PRODUCTION

C. O. ERICKSON

PRODUCTION EXECUTIVE

KATHERINE HABER

UNIT PRODUCTION MANAGER

JOHN W. ROGERS

FIRST ASSISTANT DIRECTORS

NEWTON ARNOLD

PETER CORNBERG

SECOND ASSISTANT DIRECTORS

DON HAUER

MORRIS CHAPNICK

RICHARD SCHROER

COSTUMES DESIGNED BY

CHARLES KNODE

AND

MICHAEL KAPLAN

ART DIRECTOR

DAVID SNYDER

ADDITIONAL PHOTOGRAPHY

STEVEN POSTER

BRIAN TUFANO, B.S.C.

CASTING BY

MIKE FENTON

AND

JANE FEINBERG

Production Controller

STEVE WARNER

Production Coordinator

VICKIE ALPER

Script Supervisor

ANNA MARIA QUINTANA

Camera Operators

ROBERT THOMAS, S.O.C.ALBERT BETTCHER, S.O.C.DICK
COLEAN

First Assistant Cameramen

MIKE GENNESTEVE SMITH

Second Assitant Cameraman

GEORGE D. GREER

Sound Mixer

BUD ALPER

Boom Man

EUGENE BYRON ASHBROOK

Cableman

BEAU BAKER

Set Decorators

LINDA DeSCENNA ANDTOM ROYSDENLESLIE
FRANKENHEIMER

Production Illustrators

SHERMAN LABBYMENTOR HUEBNERTOM SOUTHWELL

Assistant Art Director

STEPHEN DANE

Property Master

TERRY LEWIS

Assitant Property

DAVID QUICKARTHUR SHIPPEE, JR.JOHN A. SCOTT III

Makeup Artist

MARVIN G. WESTMORE

Hairstylist

SHIRLEY L. PADGETT

Men's Costumers

JAMES LAPIDUSBOBBY E. HORN

Ladies Costumers

WINNIE BROWNLINDA A. MATTHEWS

Special Floor EffectsSupervisor

TERRY FRAZEE

Special Effects Technicians

STEVE GALICHLOGAN FRAZEEWILLIAM G. CURTIS

Lighting Gaffer

DICK HART

Key Grip

CAREY GRIFFITH

Construction Coordinator

JAMES F. ORENDORF

Painting Coordinator

JAMES T. WOODS

Standby Painter

BUZZ LOMBARDO

Stunt Coordinator

GARY COMBS

Action Prop Supervisor

MIKE FINK

Action Prop Consultant

LINDA FLEISHER

Transportation Captain

HOWARD DAVIDSON

Publicist

SAUL KAHAN

Still Photographer

STEPHEN VAUGHAN

Craft Service

MICHAEL KNUTSEN

D.G.A. Trainee

VICTORIA RHODES

Editor

MARSHA NAKASHIMA

Assistant Editor

WILLIAM ZABALA

First Assitant Editor

LES HEALEY

Sound Editor

PETER PENNELL

Assitant Sound Editor

JOE GALLAGHER

Assistant Dialogue Editor

PETER BALDOCK

Chief Dubbing Mixer

GRAHAM V. HARTSTONEPINEWOOD STUDIOS

GERRY HUMPHRIESTWICKENHAM STUDIOS

SPECIAL PHOTOGRAPHIC EFFECTS BY EEG

Director of Photography

DAVE STEWART

Optical PhotographySupervisor

ROBERT HALL

Cameramen

DON BAKERCHARLED COWLESDAVID HARDBERGERRONALD
LONGOTIMOTHY McHUGH

Matte Artist

MATTHEW YURICICH

Matte Photography

ROBERT BAILEYTAMA TAKAHASHI

Special Camera Technician

ALAN HARDING

Optical Line up

PHILIP BARBERIORICHARD RIPPLE

Animation and Graphics

JOHN WASH

Effects Illustrator

TOM CRANHAM

Miniature Technician

BOB SPURLOCK

Assistant Effects Editor

MICHAEL BAKAUSKAS

Chief Model Maker

MARK STETSON

Key Grip

PAT VAN AUKEN

Gaffer

GARY RANDALL

Film Coordinator

JACK HINKLE

Cinetechnician

GEORGE POLKINGHORNE

Still Lab

VIRGIL MIRANO

Electronic and MechanicalDesign

EVANS WETMORE

Electronic Engineering

GREG McMURRAY

Computer Engineering

RICHARD HOLLANDER

Special EngineeringConsultants

BUD ELAMDAVID GRAFTON

Production Office Manager

JOYCE GOLDBERG

Visual Displays by

DREAM QUEST INC.

Electron Microscope Photography byDAVID SCHARFFCOPYRIGHT й1977

Esper Sequence by

FILMEX &LODGE/CHEESMAN

Color by

TECHNICOLOR

Filmed in

PANAVISION

Filmed atTHE BURBANK STUDIOSBURBANK, CALIFORNIA

Original Soundtrack album of music byVANGELIS

Available inPOLYDOR RECORDS AND TAPES

"HARPS OF THE ANCIENT TEMPLES"Composed and Performed byGAIL
LAUGHTONCourtesy ofLAUREL RECORDS

WITH THANKS TOWILLIAM S. BURROUGHSANDALAN E. NOURSEFOR
USE OF THE TITLEBLADE RUNNER

Titles byINTRALINK FILM GRAPHIC DESIGN

Deckard

HARRISON FORD

Batty

RUTGER HAUER

Rachael

SEAN YOUNG

Gaff

EDWARD JAMES OLMOS

Bryant

M. EMMET WALSH

Pris

DARYL HANNAH

Sebastian

WILLIAM SANDERSON

Leon

BRION JAMES

Tyrell

JOE TURKEL

Zhora

JOANNA CASSIDY

Chew

JAMES HONG

Holden

MORGAN PAULL

Bear

KEVIN THOMPSON

Kaiser

JOHN EDWARD ALLEN

Taffey Lewis

HY PYKE

Cambodian Lady

KIMIRO HIROSHIGE

Sushi Master

ROBERT OKAZAKI

Saleslady

CAROLYN DEMIRJIAN

THIS FILMIS DEDICATED
TOTHE MEMORY OFPHILIP K.
DICK

Partial revision history

Dec 25, 1997: Modified header. Moved revision history to bottom. Page
moved to the OffWorld. "Say kiss me" --> "Now you kiss me".

Mar 16, 1997: Added screen credits (not complete), and updated credits for
this page, started this change history list.

Mar 9, 1997: Added pictures.

Credits for this web page

This page would not have been possible without the help of net viewers like
you. Thanks to everyone who helped, including (but certainly not limited
to):

asadak@aol.com

Kazuyuki Asada

Translation of "Japanese Guy"

lucbet@imiucca.csi.unimi.it

Luciano Bet, MD

Spelling of Tannhäuser

jscoggin@tenet.edu

Jennifer Lynn Scoggin

Misspelling of Rachael. "vacated" ->
"V-K'd"

macewanh@armpit.dia.govt.nz

Hamish MacEwan

Various typos

sgorton@ll.mit.edu

Sam Gorton

Various typos

edkgn@ix.netcom.com

Edward Keegan

Spelling of Unterwasser

armitage@darmol.elte.hu

Orkeny Ajkay

Translation of Gaff's "guttertalk"

barre@rhodes.edu

Kevin

"Dry me" (Zhora)

tlt6@cornell.edu

Lindsay Tan

Various typos

menander@iac.net

mary savage

Bwade Runnah -> Brade Runna

barnold@ccnet.com

Brian Arnold

Character typo (Roy -> Rachael)

sky@unix.rosey.com

Schuyler Dunn

Spelling of Voigt, Taffey. Typos.

EOMAHONY@acadamh.ucd.ie

EOIN O'MAHONY

Name of Napoleon, Esper.

bletzler@lan.tjhsst.edu

Benjamin Letzler

Typos: sulfonate, alkylating.

oyucel@pop.erols.com

Oner Yucel

Addition: "Checkmate"

dspalding@korova.com

David Spalding

Addtional overhead blimp lines.

Badmington@cardiff.ac.uk

NEIL BADMINGTON

Typo: Methuselah syndrome, Louis.

katarakt@hotmail.com

Peter Kondyrev

Correction: Then trust me.

a-izawa@green.an.egg.or.jp

Arata Izawa

More translations of Japanese Guy.

kazmaz@osk.threewebnet.or.jp

Kazuyuki Matsuda

Unterwasser -> Hunterwasser.

ktan@wso.williams.edu

tank

first sector -> fourth sector

bladerun@gewi.kfunigraz.ac.at

Meurer Robin

Translation and text of German vandals.

tigger@nortel.ca

Jeff Skinner

Look -> locally

pauli.ruusula@ilmarinen.memonet.mailnet.fi

Pauli Ruusula

"Say kiss me" --> "Now kiss
me"

Also thanks to Paul M. Sammon, author of Future Noir, the Making of
Blade Runner, from whose text I have made some changes and additions to
this script, most notably, the translation of Chew's dialogue.